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Published online by Cambridge University Press: 01 January 2020
The chamber duets for two voices and continuo by Agostino Steffani (1654–1728) have always been considered models of perfection. In 1739 Johann Mattheson wrote that in this form Steffani was above comparison with any other composer known to him—and he was presumably including Handel.
Mattheson defined the chamber duet as an aria for two voices instead of one. That both singers speak with one and the same voice is true not only of the duet movements but also of the solo movements within chamber duets. In the duet examined later, for example, both the soprano and contralto represent the lover of Cloris, to whom the text is addressed. This feature helps to distinguish most chamber duets from dialogue cantatas, in which each singer has a different role.
1 Der Vollkommene Capellmeister, Hamburg, 1739 (fascimile, ed. M. Ricmann, Cassel, 1954), p. 215.Google Scholar
2 Ibid.Google Scholar
3 His six three-act operas performed in Hanover between 1689 and 1695 contain an average of almost seven duets each. Steffani's first opera (Marco Aurelio, 1681), written for Munich, contains two, and his last (Tassilone, 1709), for Düsseldorf, has three. Mattheson called attention to Steffani's use of duets in opera, and implied that it was exceptional.Google Scholar
4 Psalms and motets for various vocal and instrumental combinations in a dated autograph MS in the Fitzwilliam Museum, Cambridge (shelfmark 30 F 2). Steffani's Psalmodia Vespertina Volans Octo Plenis Vocibus Concinenda was published in Rome in 1674.Google Scholar
5 The most important source on this crucial period in Steffani's life, and on the revision project, is his vivid correspondence with Sophia Charlotte, Queen of Prussia. See Ebert, A., ‘Briefe Agostino Steffanis an die Königin Sophie Charlotte von Preussen’, Die Musik, vi (1906–7), 158–71; and Briefe der Königin Sophie Charlotte von Preussen und der Kurfürstin Sophie von Hannover an hannoversche Diplomaten, ed. R. Doebner, Leipzig, 1905, pp. 78–80.Google Scholar
6 By the end of November 1702 he had gathered together all but two; but at least one duet was composed some time later, and possibly a few others as well.Google Scholar
7 Shelf-marks: RM 23 k 13–20.Google Scholar
8 RM 23 k 18.Google Scholar
9 Shelf-mark: ms. 5321. This set, too, now comprises eight volumes, four duplicating the contents of four of the RM volumes, and the other four containing pieces not in that set.Google Scholar
10 British Museum, RM 23 k 7–8.Google Scholar
11 These are the original versions of the duets numbered 1, 64 and 66 in Einstein's catalogue, and the solo movements for No. 48. See Ausgewählte Werke von Agostino Steffani, ed. A. Einstein and A. Sandberger (Denkmäler der Tonkunst in Bayern, vi/2), Leipzig, 1905.Google Scholar
12 The number attributed to Steffani by Einstein is 79 (not counting six Scherzi—larger duet compositions using other instruments besides continuo.). Bibliographical and musical evidence suggests that Nos. 11, 34 and 56 in his list are as doubtfully authentic as others he excluded. Einstein gives no source for No. 20(b); it is found in one manuscript known to me, Brussels, Conservatoire Royal de Musique, MS F 15150, vol. 10.Google Scholar
13 British Museum, RM 23 k 22, ff. 44v-49 (original version), and RM 23 k 7, pp. 137–50 (revised version).Google Scholar
14 Cf. The Wellesley Edition Cantata Index Series, fasc. I: Antonio Cesti, ed. D. Burrows (1964); fasc. 2: Mario Savioni, ed. I. Eisley (1964); fasc. 4a: Alessandro Stradella, ed. O. Jander (1969).Google Scholar